This 1969 gay pulp novel got labeled as “Adult Only” entertainment when it was published, but it’s much more about true love than naughty exploits.
Steve Saville is the “head of computer division” for a big corporation. He’s 34, lonely, socially awkward, self-conscious, and carries baggage from painful past relationships. Thinking that he’s not meant for happiness, he is just confident enough to dance with attractive Ben “Bunny” Farrow at a party only because he’s rumored to be a hustler.
Read more “Julian Francis – Bunny Bitch (1969)”
Circa 1972, this western-themed pulp delivers all the gay cowboy imagery a boy could want, but also explores intriguing literary topics such as the disconnect between external and internal masculinity, the basic human need for love, and what amounts to a critique of polyamory.
Set in Sacramento Valley during the 1849 gold rush, we learn that Holt Dykes is on the run. He’s a blue-eyed desperado who’s more sensitive than his rough exterior reveals. He’s thirsty, dirty, and trying to outpace the man who wants him dead.
Read more “Frederick Raborg – Gay Vigilante (1972)”
This rare 1977 horror novel occasionally pops up in academic discussions around gay representation in literature. Drewey Wayne Gunn, a leading academic on such topics, describes The Slasher as a “credible attempt to explain a killer’s mentality” and praises its “touching portrait of a relationship between two police officers and their friendship with the medical examiner.” He goes on to lament that the author’s actual identity remains a mystery, since Sebastian Lamb, like most headliners of pulp fiction, is a pseudonym.
Gunn’s praise is generous, but he’s not wrong. If you glaze over the overindulgent sex and generally poor writing, it’s possible to enjoy a story of semi-closeted detectives attempting to bring a killer to justice. Both victims and murderer are also gay, making this a story 100% by, for, and about gay men. A few lines of social commentary imply these grisly murders might go unchecked if the detectives were straight. The media, at least, aren’t interested in reporting on “faggot deaths” until one of the victims turns out to be a young, emerging actor.
Read more “Sebastian Lamb – The Slasher (1977)”
If you’ve ever checked out Pennywise and thought “I’d hit that,” you might be like Terry Adams, the nineteen year-old farm boy from St. Paul and newest recruit at the Gay Circus.
Terry’s life ambition is to become a clown himself. With his big ears “like sugar bowl handles” and theatrical eyes that spontaneously “alternate between happiness and sadness,” it’s like he was made for it. Everyone says he has the face of a clown, “even without makeup.” Being double-jointed is just the cream pie on top.
Read more “Kym Allyson – Gay Circus (1970)”
“Going to Hell” has always been a part of my existence. I’ve been told it constantly. From the pulpit, from family, from strangers on the street. I suspect every religious gay person decides at some point to either embrace their inevitable damnation, or believe that organized religion is a lie. Friends and allies are forced into a similar conundrum, fearing their soul will turn to salt should they dare sympathize with such “deviants.”
But I was born in 1989 and have it lucky. In 1970, when Demon’s Stalk was published, you didn’t just have the church to worry about. You could be sent to jail. You were thought to suffer from a “mental disorder.” You were an assumed pedophile. You were beaten—maybe killed—in the street. Rarely would anyone care. They saw your death as a public service. It wasn’t just God against you, it was everyone.
It’s within this historical context that I read Demon’s Stalk in awe. It remains edgy and unnerving these fifty years later, arguably deserving of classic status within the horror genre, but also revolutionary for its handling of queer characters within a religious storyline. Which is to say that none of these things matter.
Read more “William J. Lambert, III – Demon’s Stalk (1970) + Interview”
A rare title sought highly by horror lovers. Most copies are listed for $100+. Its notoriety, it seems, can be sourced to an active cult fandom and Grady Hendrix’s sweeping praise.
In Paperbacks From Hell, which chronicles the publishing history of horror literature during the 1970s and 80s, Hendrix lists this book as a standout among the “creepy kids” subgenre. He goes on to say that it’s one of the few books to ever make his “jaw drop.”
Read more “Brenda Brown Canary – The Voice of the Clown (1982)”
This dusty book has a connection to Jeffrey Epstein conspiracies!?!
I found out quite by accident. While browsing eBay for old paperbacks I stumbled upon a few listings for Space Relations at unbelievable prices. Like $300+. The cover seemed familiar–like something I might have picked up at a library sale–so I hunted through my boxes until, sure enough, there it was.
At first I thought Space Relations might be an exceptionally good out-of-print title since people were selling it for such extreme prices, but then I learned the juicy gossip behind it.
Read more “Donald Barr – Space Relations (1973)”
Munby would enjoy knowing his collection of ghost stories is now a scarce find and highly collectible. The majority of these 14 tales involve rare book curators or other enthusiasts of antiquity. An occult mystery typically surrounds the rare object in question, as is explained to the protagonist by an acquaintance around a roaring fire.
Read more “A.N.L. Munby – The Alabaster Hand (1949)”
Like artifacts in his fiction, Munby’s book has its own intriguing history. During WWII, he was captured and held in Germany for five years as a prisoner of war. It was during that time, 1943 to 1945, that he wrote these stories.
Movie novelizations rarely possess literary merit, and yet it’s common to see them sell at high prices on eBay. The Clue novelization by Michael McDowell (1950-1999) is particularly pricy, with bidding wars often exceeding $150. The high demand is likely a combination of the film’s enduring legacy and curiosity to see what a horror master like McDowell would do with a novelization. Add in the scarcity of supply and I understand why fans are constantly seeking it out. I certainly was.
When I at last got my hands on a copy, I decided to not just read it but literally transcribe every word. The archivist in me felt it was important to save a digital copy should the book ever disappear completely to the dusty shelves of rare book collectors. This transcription process was one of my most cherished reading experiences. There are few ways to be more intimate with a book than to retype every word. It requires slower reading and allows for discovery of technique you would not normally notice, such as stylized word repetition, clever usage of punctuation, and white space.
Read more “Michael McDowell – Clue (1985)”